Road To Perdition

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THE MYTHIC HERO AND THE WHEEL: THE NARRATIVE PATTERN OF THE
QUEST MOTIF IN SAM MENDES'S ROAD TO PERDITION
CRISTINA FLORES MORENO
UNIVERSIDAD DE LA RIOJA
cristina.flores@unirioja.es
Article received on 01.02. 2011
Accepted on 19.05. 2011

ABSTRACT
It is the main purpose of this paper to explore the narrative pattern of the quest motif in Sam Mendes's
Road to Perdition (2002). The study of the narrative structure in Sam Mendes's movie will illustrate
that the quest constituent in the road movie genre sometimes acquires the form of a contemporary
mechanized version of the archetypal hero-adventure as it was described by Campbell in A Hero with a
Thousand Faces (1949). The movie is based on a graphic novel by Max Allan Collins and Richard Piers
Rayner, though Mendes significantly departs from it to provide the story with a mythic weight that was
not present in Collinss work.
KEYWORDS
Quest motif, road movie, film adaptation, Sam Mendes, Road to Perdition.

EL HROE MTICO Y LA RUEDA: EL PATRN NARRATIVO DE LA BSQUEDA
EN CAMINO A LA PERDICIN, DE SAM MENDES
RESUMEN
El principal objetivo de este artculo es explorar el patrn narrativo del motivo de la bsqueda en
Camino a la perdicin (2002), de Sam Mendes. El estudio de la estructura narrativa en la pelcula de
Sam Mendes ilustra que el componente de bsqueda en el gnero de la road movie se manifiesta como
una versin contempornea y mecanizada del hroe arquetpico de aventuras descrito por Campbell
en El hroe de las mil caras (1949). La pelcula est basada en una novela grfica de Max Allan Collins y
Richard Piers Rayner, aunque Mendes se aleja significativamente de ella para dotar al relato de un peso
mtico que no estaba presente en la obra de Collins.
PALABRAS CLAVE
Motivo de la bsqueda, road movie, adaptacin cinematogrfica, Sam Mendes, Camino a la perdicin.
1. THE MYTHIC HERO AND THE WHEEL
The road movie, which took off as a distinct genre in the late 1960s, appeared some
decades earlier as a manifestation of the American wide cultural landscape, especially as a
http://dx.doi.org/10.5209/rev_AMAL.2011.v3.37617

Cristina Flores Moreno
The Mythic Hero at the Wheel: The Narrative Pattern of the Quest Motif...

Amaltea. Revista de mitocrtica
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depiction of the American myth of mobility and opportunity.
1
Boundaries, geographical,
cultural and moral, are invariably crossed by drivers in road movies as a reflection of the
wider cultural context in which the movie or text is placed (Ireland 2003: 478). But
culture is not free from criticism in road movies: the driving force propelling most road
movies (...) is an embrace of the journey as a means of cultural critique (Laderman
2002:1). Nevertheless, beyond the manifestation and / or criticism of American culture
and myths, the road movie also discloses deep universal human conflicts that may be, or
not, solved on the way. Laderman considers the road as: an essential element of American
society and history, but also a universal symbol of the course of life, the movement of
desire, and the lure of both freedom and destiny (2002: 2). In short, the journey in the
road movie becomes a metaphor for life, and the physical drive along the highway stands
in for the inner psychological development of the travellers. Hence, one of the central
conventions of the road genre is the theme of transformation of identity or rebirth that
often involves the quest for self-discovery:
The road movie builds on both a physical and a mental landscape. (...) The road and its
destinations are essentially a metaphor for life itself: part of a process of social learning.
On the road anything can happen, one is vulnerable but also open and, at journeys end, a
new person has been manifested. (Eyerman and Lfgren 1995: 67)
Their search for the self or for a new reality takes very often in the road movie the form
of a quest. In fact, the notion of quest is one of the main ingredients in the road genre,
though not the only one since, as Ireland (2003: 480) writes: while the quest theme is
found a lot in the road genre, in many novels and movies in the genre, the characters also
seem either to be escaping from something or someone, or their journeys are entirely
aimless. Besides, as Atkinson (1994: 14) notes, if in the road movie we have an ideogram
of human desire and the last-ditch search for the self, it is going to be crowded by the
socially disenfranchised. Thus, the criminal and the road converge. The outlaw, the villain
or heroes with questionable morals inhabit the road genre. The emphasis on the anti-hero
recalls the myth that it is possible to escape from the past and start again elsewhere, the
roads eventually lead to freedom (Sargeant and Watson 1999: 8). They decide to make a
move and desperately flee their life in search for something new and substantially different
from what they have left behind. The past remains at the departure and the future waits
for them at the arrival: the escaped criminal Butch Haynes in Clint Eastwoods A Perfect
World (1993) tells the boy he has kidnapped that the car in which they are running away is
a time machine west toward their future.
Nevertheless, whilst the characters at the wheel cherish a better future, the road awaits
them with:

1
David Laderman emphasises this aspect of road movies in his paper What a Trip: The Road Film and
American Culture (1996).

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lurking menace, spontaneous mayhem and dead-end fatalism, never more than few
roadstops away from abject lawlessness and haphazard bloodletting road movies have
always been songs of the doomed, warnings that once you enter the open hinterlands
between cities, you are on your own. (Atkinson 1994: 16).
This is the case of the protagonist couples in Bonnie and Clyde (1967) and Thelma and
Louise (1991), or the serial killer Early Grayce in Kalifornia (1993) and Michael Sullivan in
Road to Perdition (2002). All of them expect to live free but they paradoxically find
eventual freedom through death. The latter, directed by Sam Mendes, pictures the journey
of a gangster, Michael Sullivan, and his son to Perdition, where they expect to finally
achieve peace and security. They are escaping from a mercenary whose only mission is to
get rid of both of them. Nonetheless, simultaneously, Sullivan is also running away from
his villainous past trying to amend his sins and obtain redemption or, at least, to protect
his child from following his criminal footsteps. Therefore, their journey is a quest towards
a better future, which reminds us of the mythic heroes adventures.
It has already been noted that the quest theme in road movies recalls the original
mythic journeys. Indeed the mythic structure is universal and ageless; it is valid for stories
that took place a thousand years ago as well as for nowadays adventures. It can be
interpreted once and again in a new light in accordance to the times and be adapted to best
fit the contemporary world. Geral Peary notes this and starts his article On the Road with
the following assertion:
As he tells you in the first paragraph of Moby Dick, whenever Ishmael got melancholy,
antsy, or pent-up with aggression, he shipped out to sea. That was then, this is now. In the
twentieth century, Ishmael would probably get in his car and drive. (1987: 65)
The standard path of the mythological adventure of the hero was first and best
described by Joseph Campbell in his seminal work A Hero with a Thousand Faces (1949).
According to him, the pattern of the monomyth of the hero-journey is a magnification of
the formula represented in the rites of passage: separation, initiation and return. As
described by Campbell, the mythological hero ventures forth from the world of common
day, sometimes encouraged by the herald figure, to the threshold of adventure. There he
encounters a presence, which guards the passage that must be defeated by the hero before
definitely abandoning his common world. Beyond the threshold, the road of trials awaits
the hero. There he will find forces that threaten him, the tests, and some others that help
him, the helpers. When the hero arrives at the middle of the mythological journey he
undergoes the supreme ordeal and gains his reward. The reward may be represented as a
sacred marriage, his recognition by the father-creator (father atonement) or his own
divinization (apotheosis). The final stage is the return. At the return threshold the hero re-
emerges from death. The boon that he had managed restores the initial world and the cycle
ends. This is the basic structure described by Campbell though it is common to find
variations; some narrations isolate and enlarge upon one or two elements of the full cycle,


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some others fuse different characters or episodes. Beyond these physical adventures
described, there is always a spiritual deed, because the journey undertaken by the hero is a
simple human quest, a standard pattern of human aspiration. And this is something that
we humans have in common at all times.
The archetypal adventure of the hero has been mechanized in twentieth century
cinema. George Lucass Star Wars illustrates this point. This movie director has openly
acknowledged the great influence of Joseph Campbells A Hero with a Thousand Faces in
the creation of the Star Wars saga, and, consequently, the different stages of the journey of
the hero myth, here travelling aboard a spaceship, can be easily traced in these movies.
Road movies, Laderman (2002: 13) states: rearticulate the quest motif in the increasingly
mechanized framework of automobile modernity. It can be so because the patterns of
archetypical adventure of the hero and of the road film genre share their main
constituents. In both of them the quest is a required element, though the main focus is on
the journey. Also because in both genres there is a process of development in the main
characters psyche that takes place along the path/road towards the attainment of the
quest.
2. THE MYTHIC WEIGHT OF ROAD TO PERDITION
When Sam Mendes undertook the project of Road to Perdition, he worked upon the
screenplay by David Self, adapted, in turn, from Max Allan Collinss graphic novel of the
same title.
2
This initial screenplay followed quite faithfully the story and dialogues present
in Collinss work. Mendes did not fully approve this approach, since he was most attracted
by the thematic complexity behind the novels basic story and intended to make it central
to his movie. Moreover, he discovered the mythic potential of the protagonists and their
adventure and was determined to underline this aspect in his film production. In order to
do so, he introduced numerous variations in the original story and characters, which will
be analysed in the following pages. Eventually, Road to Perdition acquired the mythic
character desired. The director emphasised this aspect of his movie in the documentary
The Making of Road to Perdition:
You often as a filmmaker are looking for some kind of mythic story or a story that holds a
mythic weight. () It is the story of a hit man from a small town mob, Irish mob, set in the
last mythic American landscape, the 1930s3 when there was still space in which you could
completely loose yourself, in the vastness of America.
4

2
After the release of Mendess movie in 2002, Max Collins published the Road to Perdition Movie tie-in novel.
Here I am only concerned with the original 1998 graphic novel as it was the source of inspiration for the movie, the
text upon which David Self and Sam Mendes himself worked.
3
Eyerman and Lfgren (1995: 57) describe the 1930s as a historical period marked by the aftermath of the
economic depression, in which the road offered a way out, the possibility of a better life.
4
My transcription.

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The archetype of the hero-adventure and the genre of the road movie are skilfully
integrated in Sam Mendes's work. I face the study of Road to Perdition from the point of
view of the road movie genre: it is, at the same time, a quest road movie and an outlaw
road movie
5
. The protagonists move towards something, salvation. But at the same time
they run away from something, the mobs menace. In terms of the mythic hero adventure
pattern, the hero escapes from a deficient state to look for something better towards the
accomplishment of a quest. In Road to Perdition, father and son hit the road to Perdition,
literally a small town where the boys aunt will take him in. But Road to Perdition is a title
with a double meaning. In literal terms, Perdition is their physical destination. But
Perdition is also the stage of eternal damnation into which a sinful and unrepentant passes
after death. And in that regard, Michael Sullivans only hope is that his son will choose a
different path when he grows up. Thus, physical movement parallels inner personal
development.
In Sam Mendes's movie, the quest is shared: both father and son drive toward
innocence and redemption. Interestingly, Road to Perdition features a fragmentation of
identity. Michael Jr. mirrors his fathers previous stage to murder; he represents the
innocence his father left behind. And, Sullivan can only save himself from the certainty of
damnation by securing his sons innocence. Director Sam Mendes observes in the Official
Web Site of Road to Perdition:
Michael Sullivan considers himself to have been put on the road to hell. Now he is in a
battle for the soul of his son. Can a man who has led a bad life achieve redemption through
his child? That is one of the central questions asked by the movie.
Once the mythic aspect of the movie has been stated and the quest that triggers the
adventure identified, the analysis of the narrative pattern according to the schema
proposed by Campbell as composing the adventure of the hero myth follows. Special
attention will be paid to those elements added in the adaptation of the graphic novel to the
screen.
3. THE MYTHIC QUEST PATTERN IN ROAD TO PERDITION
3.1. Frozen Land
The first shot in Road to Perdition is a young boy standing by the shore of Lake
Michigan, back to the camera. A voice in off, that of the oldest of Sullivans two sons, 12-
year-old Michael states the following:

5
As noted by Laderman (2002: 20), there are two types of road movies: the quest road movie and the outlaw
road movie. While quest road movies emphasize roaming itself and a movement toward something, outlaw road
movies emphasize a fugitive runaway from the scene of a crime or the pursuit of the law. However the boundary
between these two genres is not clearly established since, although most road movies incline toward one of these
options, some others present elements from both.

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There are many stories about Michael Sullivan. Some say he was a decent man. Some say
there was no good in him at all. But I once spent six weeks on the road with him in the
winter of 1931. This is our story.
6

This first image will be repeated at the end of the movie, though the speech uttered by
Michael in the final scene conveys more information: the conclusions he had got to attain
along the journey on the road. These two scenes, which constitute the storys framework,
also represent the first noteworthy variation with respect to the graphic novel. Back to the
screen, the initial words by young Sullivan disclose two significant pieces of information.
First, they disclose the moral ambivalence of Michael Sullivan, whose moral stature is
initially not clearly defined in his sons eyes. To reach a balance between these two
opposite public points of view about his father turns to be the boys main purpose along
the story. This ambiguity is not present in the graphic novel, where Michael describes his
father from the very outset as the most honourable man I ever knew (Collins 1998: 22).
Besides, Michaels elevated opinion of his father does not falter at any moment in the
novel, whatever murder or robbery Sullivan commits. In the movie, however, the building
of Michael Sullivans personality will be progressively discovered, and so in a sense built,
by his son during their journey. Second, they anticipate the audience that they are going to
witness the six weeks journey of this father-and-son couple. Hence, the boy appears as an
essential constituent in the development of his fathers character. He describes the
adventure as our story and by doing so he also recognises the utterly important role he
plays in the adventure.
The Sullivans story begins, as told by the boy, in the frozen streets of an indeterminate
town not exceedingly far from Chicago. There, the Sullivan family is committed to a
presumed normality as Michael Sullivan shields his children from the true nature of his
profession, mobster. He owns a big comfortable house where his wife and two sons live
peacefully. This image contrasts sharply with the freezing weather outside the house. This
is a story told through images rather than dialogues, and the images of water are laden
with significance. As we will develop later, Mendes used water all through the film as a
symbol of death. Then, in the initial stage, images of snow, representing frozen stability,
turn into pouring rain once the adventure is prompted and at the end, water is set free in
Lake Michigan.
According to Campbell, the mythic hero is a personage of exceptional gifts who is
frequently honoured by his society. In both Collinss novel and, especially, in Mendes's
movie, Mr. Sullivan is presented as someone highly respected in the community to which
he belongs. The movie, however, adds some complexity to the character and the plot by
picturing a very close relationship between Sullivan and Mr. Rooney, the mob boss for
whom he works as his personal hit man. Here, Mr. Rooney adopts the role of surrogate
father, publicly showing his preference for Sullivan over his own natural son Connor. This

6
The movies script has not been published; therefore, from now on I will offer my own transcription.

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intimate father-son relationship between the protagonist and Rooney, absolutely absent
from the graphic novel, becomes central in Mendes's story. Mr. Rooney has provided
Sullivan and his family with protection and financial security; he is the benefactor who has
allowed them to live comfortably, in apparent welfare.
Nonetheless, in the hero-adventure pattern, the initial stage of welfare hides an
undesirable reality, a symbolical deficiency, using Cambpells terminology (1973: 37).
Then, what this scholar terms the call to adventure takes place, that is, a blunder that
reveals an unsuspected world that the individual cannot rightly understand and that opens
the door to a specific destiny. The archetype figure of the herald produces the crises and
is responsible for the call to adventure, marking thus what has been called the
awakening of the self (Campbell 1973: 51). The herald appears as a guide that presents the
hero with something that has remained unknown in his unconscious side and that, in a
second, is brought to life. In Mendes's movie, though not in the graphic novel, the role of
the herald is played by Peter, Sullivans youngest son.
Michael shows signs of suspicion with respect to his fathers job. In several scenes in
the movie, the boy is shown looking inquisitively to his father. He has created an idealised
view of him, distorting thus reality. But the repetitive enquires, which do not appear in the
novel, of his younger brother definitely shatter the veil:
PETER: What is Papas job?
MICHAEL: He works for Mr Rooney
PETER: Why?
MICHAEL: Well, Papa didnt have a father so Mr Rooney looked after him.
PETER: I know that, but what is his job?
MICHAEL: He goes on missions for Mr Rooney. They are very dangerous. That is why he
brings his gun. Sometimes even the president sends him on missions because Papa was a
war hero and all.
PETER: You are just making that up.
MICHAEL: Im not.
Next morning, Peter, who is still wondering about his fathers job, asks again:
SULLIVAN: Peter, I cant come to your concert tonight. Im working.
PETER: Working at what?
MRS SULLIVAN: Putting food on your plate, young man.
The elusive answer of Mrs. Sullivan intensifies Michaels curiosity and, resolved to
discover the truth, this same night Michael hides in his fathers car and witnesses a
bloodbath provoked by Connor Rooney, who is backed by Sullivan. We, the audience, see
the murder in long shot, from the angle from which the hidden boy sees the murder scene.
It follows a close up on Michaels surprised eyes that allows us to enter his mind at this
crucial moment of discovery, the awakening of the self that shakes Michaels earlier
fictional security and stability. Peter has fulfilled his role as the herald; his attitude has
marked in his brother a new period, a new stage in his biography. But he has also triggered

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a new situation for their father, the protective fortress Mr. Sullivan had built around his
family has been knocked down, and his real identity and job discovered.
But previous to leaving, there is another stage in the adventure of the hero pattern, it is
the refusal of the adventure and consists in the return for a while to familiar occupations.
Thus, next morning both father and son resume their daily routines in an attempt to avoid
reality. But in the hero-journey: a series of signs of increasing force then will become
visible until () the summons can no longer be denied (Campbell 1973: 55-56). The final
actions propelling the adventure are Connor Rooneys plotting against Sullivans life and,
definitely, his shooting Peter and Mrs Sullivan to death. Sullivan has no option and leaves
their house with Michael. This house is not our house any more. Its just an empty
building, Sullivan says to his son, I have to protect you now. This father-and-son couple
hits the road; the heroes are now committed to the journey. Their purpose is to reach
Perdition, where they think security will be recovered but on their way Sullivan will detour
for revenge. They are about to cross the first threshold.
3.2. On the Road of Trials
In road movies, where the protagonists look for a better future or escape from their
past, the road represents multiple possibilities, freedom of choice, the American dream.
Sargeant and Watson point out this aspect of the road as follows:
There are no certainties on the road, only potentialities. Whilst the journey focuses toward
a final destination, detours are always possible. Other journeys never seek or reach a final
destination, becoming extended wanderings with no clear teleological goal. In Americas
vast landscape, with its frequent seemingly endless straight roads, it is still possible to
stray from the path. (1999: 12)
But not for the outlaw on the move, they are doomed, they cannot avoid their destiny.
In Sam Mendes's movie, this oppressive situation is represented in some images of the
road. At this point in the story, the limiting presence of a dense forest on both sides of the
road gives no way to straying out of the path. Their fate is set.
Once the threshold has been traversed, the hero must survive a succession of trials.
The departure into the land of trials represents: only the beginning of the long and
perilous path of initiatory conquests and moments of illumination (Campbell 1973: 109).
These initiatory tests take place at subsequent stops along the journey. As Laderman
(2002:15) notes, an important component of the journey in the road movie is that it has
pits stops at motels, diners, and gas stations, often used to introduce important elements,
significant narrative developments in the story. He identifies three purposes: First of all,
the drivers must stop somewhere temporarily to meet various needs (rest, food, fuel ).
Second, the journey narrative can gain dramatic intrigue from unexpected plot twists
resulting from such intermissions (meeting some new character, committing a crime ).
Third, they are landmarks in the development of the travellers relationship. Hence, these
stops may coincide with the different stages in the hero mythic cycle. The end of the

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journey is the culmination of the enterprise and at the same time of the characters
development and relationship; and the different stops signal relevant steps in their
evolution.
The first stop in the heros journey is made in order to look for alliances. In Road to
Perdition, the Sullivans first stop, after a whole night behind the wheel, is at Chicago,
around 190 miles from their home. Mr. Sullivan meets there Chicago mobster Frank Nitti,
who belongs to the Capone organization. Sullivan asks him for shelter but due to strategic
alliances, Nitti refuses and father and son resume their journey.
The next stop on their way is at a remote diner where Sullivan meets for the first time
one of his major tests figures. It is Maguire, an archetypal villain representative of the
evil. He is a photographer who specialises in taking pictures of murder victims, who are
frequently his own. He has been hired by Rooney and Nitti to murder Mr. Sullivan and will
persecute the Sullivan couple up to end. The introduction of this character is a notable
addition by David Self to the graphic novel. In Collinss work, the tests undergone by
Sullivan are a succession of perilous encounters with a group of undefined hit men sent
after them by John Rooney and various bank robberies from which he emerges successful
and unscathed. In the movie, however, the villainy and active part of Connor is reinforced
and the figure of Maguire is added in order to raise the difficulty of the challenge Sullivan
has to face.
In this first encounter with the villain, the boy remains in the car. Sullivan has dinner
alone when Maguire appears at the door, enters, and sits opposite him. After a short chilly
conversation, Sullivan grows suspicious of this strange figure and leaves the diner through
the back door. Up to this point in the road of trials, the role of Michael Junior has been
that of a mere accompaniment for his father, who has managed to get out of Nittis office
and out of the diner alive. Dickinson (1999: 194) notes that the road is an adult preserve
and that the privilege of freedom is virtually denied to children in road movies. They are
lost without adults.
7
Nevertheless, in Road to Perdition, young Michael is taught to drive
by his father, and in that way he acquires part of responsibility in the journey and in the
solving of the tests. Father and son collaborate from then onwards and, consequently, they
become an outlaw couple.
Sullivan starts a campaign of robbing banks that hold mob founds in order to pressure
Capone against Connor Rooney. In these robberies the boy takes an active part as the
getaway driver and, progressively, Sullivan recedes to the background to give a more
participative role to his son. In fact, Michaels actions are determining for the successful
outcome of the following test.
Mr. Sullivan faces a new trial in a second encounter with the unemotional Maguire in
the hotel Geneva. This time, he is shot by Maguire though he manages to escape thanks to

7
In this paper, Dickinson deals with three road movies in which children hit the road: The Wizard of Oz
(Victor Fleming, 1939), Night of the Hunter (Charles Laughton, 1955) and Walkabout (Nicholas Roeg, 1971).
Therefore, her conclusions are referred to them, though they may be extended to a larger number of movies.

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Michael, who waits in the car ready to drive away. Nevertheless, he is seriously wounded
and now, young Michael takes control and stops at an isolated farmhouse, where they find
shelter. The warm mature couple who owns the farm generously offers their help without
asking a single question. They are what Campbell termed helpers, representing the
benign, protecting power of destiny. They are the only goodness they will find on the road.
It must be pointed out that neither their encounter with the archetypal villain nor their
meeting with the helpers are present in the graphic novel.
The stopover in the farm marks the most significant improvement in the process of
humanization of Sullivan and his personal relationship with his son. Up to that moment,
they have been suffering from a severe lack of communication due, mainly, to Sullivans
inability to express emotions and his incapacity to pull down the wall he once built to hide
his real identity from Michael and Peter. Now, along their adventure behind the wheel,
Michael Jr. is getting to know his father. He has taken part in his criminal activities and,
consequently has entered Sullivans professional domain. Therefore, the protective wall is
not longer necessary and must be demolished to allow Michael enter his fathers emotional
domain as well. In this regard, the woman in the farm is of utmost help. She prompts
Sullivans approach to Michel by making him realise that his son dotes very much on him.
This is an example of what Campbell (1973: 109) terms a moment of illumination. Thus,
one night, during the first intimate conversation father and son maintain in the movie,
they find out how much they have in common. Sullivan admits having treated Michael in a
different way than Peter because he saw in his oldest son an image of himself: You were
more like me and I didnt want you to be. This conversation allows them to understand
each other better and, when saying good night, Michael tightly and lovingly hugs his father
as a signal of forgiveness.
The most intense scenes in the movie coincide with the central stage in the monomyth:
the moment of initiation. In Mendes's movie, the process begins, as described in the
monomyth, in a place under the ground, the innermost cave in Cambpells terms.
Sullivan maintains a tense conversation with his surrogate father Mr. Rooney in the dark
basement of a church. This conversation reveals Sullivans main concern, his quest in this
journey:
MICHEL SULLIVAN: He [Connor] murdered Annie and Peter!
JOHN ROONEY: There are only murderers in this room! Michael! Open your eyes! This is
the life we chose, the life we lead. And there is only one guarantee: none of us will see
heaven.
MICHAEL SULLIVAN: Michael could.
JOHN ROONEY: Then do everything that you can to see that that happens.
Sullivan knows that they only way to save his childs life is by killing Rooney. And
therefore, one rainy night he approaches John Rooney and, after murdering all his
bodyguards, shoots him dead. This test is central in the initiation myth, as Campbell
states, it can take the form of a sacred marriage, father atonement, apotheosis or


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elixir theft. In Road to Perdition, the nuclear scene can be best understood in terms of
the father atonement initiation rite. In Campbells description of this rite, it is presented
as a radical readjustment of the heros emotional relationship to the parental images, what
he calls the mystagogue (father or father-substitute). The hero, Campbell describes,
beholds the face of the father, understands and the two are atoned (Campbell
1978:147). Meaningfully, when Sullivan approaches Rooney, the old man, realising
Sullivans intention, turns back and looking at his surrogate sons eyes claims: Im glad
its you. This powerful scene perfectly fits the father atonement phase, where the hero
must have a faith that the father is merciful, and then a reliance on that mercy (Campbell
1973: 130). He must be recognised and forgiven by the father figure, and these two things
are implied in Rooneys last words.
I find it interesting to note how much the narrative in the movie departs at this point
from the graphic novel. It has already been underlined that one of Mendes's additions to
Collinss work is the complex relationship father-son established between Sullivan and
Rooney. In the graphic novel, Rooney is just the gang boss who cowardly hides from
Sullivan and is finally arrested by Eliot Ness. There, John Rooney is, unlike in the movie, a
gangster without scruples and dignity who, in the end, collapses when he wrongly thinks
that Sullivan is approaching to put an end to his life. Mendes, therefore, modifies Rooneys
character and the events related to him so as to best fit the mythic father atonement
phase.
Campbell (1973:137) states that once the hero is separated from the father-like figure,
he has become himself the father. And then he is competent, consequently, to enact
himself the role of the initiator, the guide. This is the part Sullivan will play in the last
scenes of the movie.
3.3. Perdition
Michael Sullivan and his son arrive at a house on the beach. In the graphic novel, the
house is a farm in the countryside, but Mendes locates Perdition on the shore of Lake
Michigan with a clear symbolic intention. There, running on the off-white sand, both
father and son feel happy, free and safe at last. The symbolic heavy rain that has persisted
along their journey has disappeared and now the sun shines and reflects its bright rays on
the vast layer of water in front of them. Water has a twofold meaning here, it represents
liberty but also death. Laderman (1996:45) notes that the outlaw road couple seems
doomed to death. The theme of implacable fatal destiny eventually overtakes road movie
protagonists. They rarely go back; there is not positive return for most outlaw characters
behind the wheel. Mendes conveys this sense of fate by means of the water motif. In an
interview, when asked about the meaning of water in his movie, the director observed:
The water motif in this film came from a piece of research about wakes in the 30s Irish
wakes. And I read that they used to keep the dead bodies on ice. And the ice used to melt
and drip into buckets. The buckets used to catch the water. And I just thought, what a


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great image for decomposition and for the sense of fate that I wanted to hang over the
film- that eventually the dam will burst, that life you know, once youve set one domino
in motion, all of them will have to fall. And you cant control it. And to me, water is
uncontrollable; it slips through your fingers. So its in every scene. I found its way into
every scene in which there was death. (Mendes 2002c: 4-5)
Therefore, water preludes the inevitable outcome. The final test awaits the heroes in
Perdition. Maguire, the archetypal villain, is hidden in the house waiting for the couple to
appear. Sullivan enters the house and, without realising Maguires presence at his back,
observes through the window at his child who, still on the beach, plays cheerfully for the
first time in six weeks. At this very moment Maguire shoots at Sullivan who, as a result, is
deadly injured and falls to the ground. The villain proceeds to take him a photograph at
the moment of death but is interrupted by Michael Jr., who is tightly holding a gun. The
boy hesitates and is not able to shoot the gun; however his father is, and with his gun
injures Maguire fatally. Sullivan has defeated the villain but yet he is doomed.
Nevertheless, before dying, father and son can exchange some words:
MICHAEL: I couldnt do it.
Mr. SULLIVAN: (with a smile) I know.
MICHAEL: Pa
Mr. SULLIVAN: Im sorry. Im sorry. Im sorry. Im sorry...
The journey acquires in this scene whole significance. Sullivan is glad he has salved
both Michaels physical and spiritual life. He has, in terms of the hero myth, initiated his
child into innocence or, better, he has not initiated his child into murder. Young Michael,
by being unable to use the gun, has remained out of his fathers path to perdition. Michael
Sullivan has been successful as a mythic guide and initiator. And, moreover, at the end of
his trip to Perdition he paradoxically obtains redemption. He is sincerely repentant, and
perdition is the place for the unrepentant in Christian faith, Sullivans faith.
Again, the differences with the graphic novel are remarkable. On the one hand, while
in the movie Michael Jr. does never lose his innocence, in the graphic novel he twice uses
the gun to kill (Collins 1998: 185-6; 298). And, moreover, he shows cold revengeful
feelings:
SULLIVAN: The man who killed your mother and your brother is dead
MICHAEL: Good. Did he suffer?
SULLIVAN: Not enough but the world is rid of him. And we can finally go on with our
lives. (Collins 1998: 292)
On the other hand, this semantically weighty scene in the movie departs to a great
extent from the events pictured in the final pages of the graphic novel. There, Sullivan
enters alone the farm outside Perdition and, once inside, is shot down by a gunman.
Michael, who waits in the car, listens to the shots, runs inside armed with a gun and


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unhesitatingly shoots to death his fathers murderer. Afterwards, asked by his fatally
injured father, the boy takes him to a Church, where he is given the last rites and is
therefore absolved of all his sins.
3.4. Return
The hero, therefore, is the man or woman who has been able to battle past his personal
and local historical limitations to the generally valid, normally human forms. () [T]he
hero has died as a modern man; but as eternal man perfected, unspecific, universal man
he has been reborn. His second solemn task and deed therefore () is to return then to
us, transfigured, and teach the lesson he has learned of life renewed. (Campbell 1973: 19-
20)

Although we are only shown [in road movies] a portion of the characters lives, the short
travelling spell shown summarizes or recalls past life and usually brings about a
metamorphosis which results in a changed life pattern for the remaining future. (Indurain
Eraso 2006: 40-1)
The final stage in the myth-adventure as is the heros return to the ordinary world he
left behind the threshold of the adventure. But the does not return empty handed, on the
contrary, he has learnt a lesson along the journey that will cure the initial faulty world.
Sullivan is death so he cannot continue the adventure but Michael Jr. can. The young
Sullivan is now in charge of transforming his existence with the help of the lesson learnt on
the road. Michael cannot go back home because nobody is waiting for him there so he
returns to the farm where he and his father were sheltered on their journey to Perdition.
There, he recovers the parental figures and eventually attains a peaceful living in the farm.
Sullivan has fulfilled his quest; his son is out of the road to perdition and by managing so
he may have also achieved redemption. Michaels concluding monologue discloses the
lesson learnt by the young boy along the six-week journey and shows how emotionally
close he became to his father. This is the sure proof of Michael Sullivans triumph in his
heroic quest.
I saw then that my father's only fear was that his son would follow the same road. And that
was the last time I ever held a gun. People always thought I grew up on a farm. And I
guess, in a way, I did. But I lived a lifetime before that, in those 6 weeks on the road in the
winter of 1931. When people ask me if Michael Sullivan was a good man, or if there was
just no good in him at all, I always give the same answer. I just tell them... he was my
father.
4. CONCLUSION
The graphic novel lacks the thematic and symbolic complexity of Mendes's work. In
adapting the graphic novel to the screen, Mendes introduced in the story significant
variations leading to the construction of a well designed narrative following the pattern of

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the hero monomyth. In doing so, the director also adds predictability to the end, what has
been the object of most of the not many negative reviews received by the movie. However,
by adding key elements in the hero-journey, such as the herald, the archetypal villain, the
helpers and the central scene of father atonement, Mendes achieves to provide this period
gangster film with the mythic tone he desired. He transforms Collinss tale of revenge into
a mythic quest. The original cold-blooded Michael Sullivan, whose nickname in the
graphic novel is archangel of death, becomes in the movie a heroic good-hearted father
who is not only running away from the menace that threatens his sons life but also driving
towards the attainment of a universal timeless human quest: redemption.
BIBLIOGRAPHY (AND FILMOGRAPHY)
Atkinson, Michael (1994). Crossing the Frontiers. Sight and Sound, vol.4, issue 1: 14-17.
Campbell, Joseph (1973) [1949]. The Hero with a Thousand Faces. Princeton: Princeton
University Press.
Cohan, Steven & HARK, Ina Rae (1997). The Road Movie Book. London; Routledge
Collins, Max Allan and RAYNER, Richard P. (art) (1998). Road to Perdition. New York:
Paradox Press.
Dickinson, Ray (1999). Travelling Children. In Sargeant, J. and Watson, S. (eds.) Lost
Highways. An Illustrated History of Road Movies. Creation Books: 193-207.
Eastwood, Clint (dir.) (1993). A Perfect World. Warner Bros. Film.
Eyerman, Ron and Lfgren, Orvar (1995). Romancing the Road: Road Movies and Images
of Mobility. Theory, Culture & Society 12: 53-79.
Indurain Eraso, Carmen (2006). A Culture on the Move: Contemporary Representations
of the U.S. in Road Movies of the Nineteen Nineties. Ann Arbor, Michigan:
University Microfilms Inc. Dissertation Services, Proquest Company.
Ireland, Brian (2003). American Highways: Recurring Images and Themes of the Road
Genre. The Journal of American Culture, 26, 4: 474-484.
Laderman, David (1996). What a Trip: The Road Film and American Culture. Journal of
Film and Video, 48, 1-2: 41-57.
. (2002). Driving Visions. Exploring the Road Movie. Austin: University of Texas Press.
Lucas, George, dir. (1977). Star Wars. Lucasfilm, Twentieth Century Fox. Film.
. (dir.) (1980). Star Wars. The Empire Strikes Back. Lucasfilm. Film.
. (dir.) (1983). Star Wars. Return of the Jedi. Lucasfilm. Film.
Mendes, Sam (dir.) (2002a). Road to Perdition. Dreamworks. Film.
. (dir.) (2002b). The Making of Road to Perdition. Dreamworks. Documentary.
. (2002c). A Pinnewood Dialogue with Sam Mendes. By David Schwartz. Museum of
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<http://www.movingimagesource.us/files/dialogues/2/45492_programs_transcript
_pdf_237.pdf > (27/01/2011).
Peary, Gerald (1987). On the Road. AM Film, January/February: 65-7.
Penn, Arthur (dir) (1967). Bonnie and Clyde. Warner Brothers, Seven Arts. Film.
Road to Perdition. Official Web Site. 2002. <http://www.roadtoperdition.com>
(27/01/2011).
Sargeant, Jack and Watson, Stephanie (1999). Looking for Maps: Notes on the Road
Movie as Genre. In Sargeant, J. and Watson, S. (eds.) 1999. Lost Highways. An
Illustrated History of Road Movies. Creation Books.
Scott, Ridley (dir.) (1991). Thelma and Louise. MGM. Film.
Sena, Dominic (dir.) (1993). Kalifornia. MGM. Film.

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